PAMTA1002 – Music Theory 2 Written Analysis Task Bridget Mylecharane - 30126819 

Kiss Me Kate is a 1948 musical with book and music by Cole Porter. It is based around William Shakespeare’s play “The Taming of the Shrew” and is thought to be Porter’s most successful show running for more than 1000 performances on Broadway. It was his first attempt at a fully integrated musical with the songs relating directly to the script. Although “So in Love” was originally written for the show and the character Lilli Vanessi, it has since been recorded by a variety of female artists and remains a popular cover song to this day. It is said to be the most evocative and reflective song in the show. In this analysis I will argue that the modulating between major and minor keys and the use of lyrics, reflects the character’s psychological state and transition between her reality and a fantasy world. 

Due to the modulation it is difficult to state a stable key for this song. It originally begins in F# minor but moves into A major at different points throughout the piece. I believe this can be explained by the psychological state of the character as she fades in and out of reality and her fantasy of the past. To assist with these transitions the song follows the ‘standard’ thirty-two bar form (technically sixty-four in this case.) There are two chorus-like sections followed by a bridge and another chorus, or in simple terms the structure A A B A. This was an extremely popular form in the first half of the 20th century, originally created in the 20s and common in Tin Pan Alley songs. Cole Porter was known to use this form in some of his earlier work and the succinct structure of this form could be used to explain why many of his songs have been converted into Jazz standards. In the B section, the melody becomes brighter and more major sounding, as Lilli becomes lost in the past. This sense of fantasy and remembering puts her into a happier place and the music reflects this. As we return to the refrain the minor tones set in again as Lilli is dragged back into her reality. 

The melody appears to be rather simple and repetitive at first glance but upon looking closer the intricacies and subtleties can be found. Although the time signature is cut common time the consistent use of dotted notes give the piece a partly waltz and partly tango-like feel. The sharpening or flattening of one note in the phrase completely changes the colour of the piece. This is evident in bar 32 as the B is sharpened to a C and the key modulates from a minor tonality into a major one. Cole Porter is known for his unique style and use of accidentals and I think this ties in nicely with the melancholy of the song as Lilli reminisces and reflection her past. The

first phrase begins fairly low in the female range and creates a brooding, almost mysterious atmosphere. As the line continues the interval leaps increase, especially on words like ‘close’ and ‘fill.’ This signifies Lilli’s emotion state and as a result when the vocal line grows in intensity the pitches increases also. 

Lyrically the song can again appear to be straightforward and repetitive however it is this simplicity that allows for the sophistication of the ideas to seep through. The sustaining of many of the notes allows for the audience to really absorb each word and the intent of the song is delivered clearly. This coincides with Porter’s attitude towards lyrics; the original Lilli, Patricia Morison revealed in an interview that “The one thing that he was really very, very fussy about was the lyrics. If he couldn't hear or understand a lyric, he would…say, "Sorry, couldn't hear that last word!"1 The long legato lines also pay homage to the classic love ballads and even the operettas of the era, alerting the audience straight away that the song focuses on love. The lyrics of this piece effectively evoke a strong sense of mood while remaining simple and not overshadowing the melodic line. This use of short, one or two syllable words helps to strengthen the ideas in the text, highlighting her solitude, her vulnerability and how without him she is left in the dark. The use of simple interior rhyme and alliteration (deceive me, desert me) also effectively heightens the text and Lilli's state of mind. Again, just like the key change, the lyrics are used to assist with the transition from fantasy to reality. In the B section words like mysterious, joy and delirious replace darker words such as taunt and hurt. It has been said that, “Porter was one of the wittiest of all lyricists, with a subtlety of expression and a mastery of the interior rhyme.”2 While wit appears to be absent from the text this time it is Porter's subtlety that makes this song so tragic and true. Lyrically the character's state moves from recollection and longing, to a happier fantasy and finally to her bleak and dark reality, foreshadowing the fact that the flowers she has received from her lover were never intended for her. 

The accompaniment of the song underscores the melody nicely without overwhelming it. The piece begins at pianissimo creating a very gentle and soft sound in the introduction. It has a slightly haunting and foreshadowing sound that prepares the listener for what is to come. Throughout the first section the right hand of the piano tends to embellish the melody but the bass remains fairly consistent and steady. I think this could symbolise Lilli’s heartbeat and her longing for Fred's love. This is also aided by the tempo which is written as andante meaning at a walking 1 Busby, D. G. “So in Love”2 Encyclopaedia Britannica “Cole Porter”

pace, and is rather slow but still with a sense of forward momentum. As the lines progresses the right hand becomes more complex assisting with the character's emotional development. In the B section the leaps in the bass clef are larger than that in A, aiding that transition to a broader and brighter major quality. The use of embellishments in the accompaniment during moments of stillness in the vocal line creates little moments of interplay between the music and Lilli's confused mental state. For a reverse effect, rests are used in the accompaniment when the melody is asking to be focused on. 

'So in Love' is a song both haunting and beautiful and is a classic example of Porter’s style. All aspects of the song, the melody, lyrics and accompaniment relate to the different psychological states of the character and her journey through her past and present.

Bibliography

Busby, D. G. “So In Love” Stage Directions. May 2006, Vol. 19 Issue 5, p56-58.             Online Encyclopaedia Britannica “Cole Porter” http://www.britannica.com/EBchecked/topic/471076/Cole-PorterDate Accessed: 15/10/14